Word: indigo
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Gilliam's relationships with the important people in his life are, to put it mildly, unhealthy. In his single-minded pursuit of his music, Gilliam manages to put off almost everyone. In his personal life, he locks out both of his female companions, Indigo (Joie Lee, the director's sister), a schoolteacher, and Clark (Cynda Williams), an aspiring jazz vocalist. Gilliam appears wildly indifferent to the fact that both Indigo and Clark are in love with him. When his father asks him if he loves one of them, Gilliam responds, "I like her...I like women." He treats them...
...however, chooses to employ motifs even more basic to Western civilization, and for that matter, mainstream Hollywood moviemaking. The last fifteen minutes of the film are a testament to the moral cleansing power of the family. Gilliam, at absolute rock bottom, turns to Indigo in what begins as one of the film's most powerful scenes and quickly deteriorates into one of its most unbelievable. Gilliam begs Indigo, whom he had not seen or spoken to in over a year, to take him back. "I love you," he tells her for the first time, "I want...
This dialogue sounds every bit as preposterous on screen as it does on paper. What is even more surprising is that Indigo takes Gilliam back. What begins as an attempt to represent the arrogant Gilliam at his lowest, utterly humbled, comes off as somewhat unconvincing...
Good thing that coda, which is titled Gratitude, comes at the end of Frank Morgan's album Mood Indigo. Hearing it first and taking it at face value, casual listeners might figure they were in for an overdose of New Age good vibes and reach for the off button. That would mean missing out on some elegant alto sax, the kind of jazzmanship that combines the hip and the heartfelt in an accessible, up-to-the-minute sound...
...anymore. Mood Indigo has been on the Billboard jazz chart for the past 15 weeks and is currently perched at No. 5. Lyrical in mood, it recalls John Coltrane's great 1962 Ballads album as it rephrases hardy perennials by Thelonious Monk, Duke Ellington and Coltrane (with an assist on two tracks from trumpeter Wynton Marsalis). Although Morgan was tutored in the dizzying strictures of bebop by Charlie Parker, his recent playing has become less slashing, his tone more glowing, his lines more feelingly supple. The new sound is certainly enticing, and has helped Morgan get some of the attention...